In his new artist's book Alois Mosbacher deals with the forest as an ambivalent topos of art history as well as of history of ideas. Mosbacher's landscapes have little to do with bucolic traditions: Gone are the inhabitants of the woods, Mosbacher's tree paintings are confusing compositions consisting of different types of trees, thus the visual narrative offers the beholder various possibilities of association.
By using oil, carbon and pencil Mosbacher explores the possibilities of figurative painting and analyzes wood as an artistic resource. Extensive media research is an essential part of Mosbacher's artistic practice: Up-to-date pictures found in newspapers or on the internet are disturbingly interrupting Mosbacher's ephemeral impressions of nature.
